Bead & Button Vol 1 Issue 1 February 1994

___ utton In this issue: Beaded silk purses Polymer clay Virginia Blakelock - bead artist Sioux bone chokers Tigertail earrings How designers plan necklaces Button collecting

From Alice's desk

P

Next Issue Necklaces for Cats FISH

BEAUS

AXD :\[CH"SE FETISHES J•'OH YOlTH CAT

Fimo Faces IllIO•:CTlONS I•'OR MAKIXG BEAll'l'll•'l·t. FACES l.'J CI.AY

STEP-BY-STEP

Loom Beadweaving

lanning and producing the first issue of Bead & Button has been the most exciting, exhausting, and fun experience of my life. There are so many of you I'd like to thank for your help, encouragement, and freely-shared information. I don't dare try to name you all because I might leave someone out. I've always believed that people are basically good, but the generosity and kindness I've been shown in the last few months has overwhelmed even me. Thank you all from the bottom of my heart. Bead & Button is for you. I've tried to include articles and information that will satisfy a wide variety of tastes, techniques, and skill levels. We also offer tips on styling your look and planning your accessory wardrobe. Now it's up to you to let us know what you think, what you want, and what you like and don't like. Many of you may be potential authors - it's easier than you probably think. Write to me for a copy of our guidelines if you're interested. I also hope you'll share your favorite tips and techniques, that you'll write in with questions for our experts, and that you'll send me pictures of some of your bead and button triumphs for possible inclusion in "Your Work" (see page 29). Your participation is what will make Bead & Button special. The next issue looks great - I'm sharing a little of it here so you know what to expect. Now I have to get back to work on it. Have fun with this issue's authors and their beautiful work. I'll see you in our favorite bead and button stores.

HATBANI>S, BEi/L'S, AND HHACEI.ETS FR0:\1 YOl"H BEADLOOM. EASY!

Needlewoven Blackfeet Earrings XATIVE AMERICAN DESIGNS AND HO\V TO :HAKE AND WEAR THEM

Chinese Frog Closures A STYI.[Sll

Al.'l'l•:HNATIVE

TO BUTTONS

PS: Here's the worst-kept secret of the decade but please don't tell my husband - I may still have him conned. I just have to buy all those beads. It's in my job description.

Victorian Bead Purses :\[AKE Trll<::\r, COI.1.I•:('T THKM. ABOVE ALL, USE THEM!

2

February 1994

BEAD&Button

Photograph by Robert Marsala; lampwork bead by Kate Fowle

Contents From Alice's Desk 2 Next Issue 2 Tips and Techniques 4 VourWork 29 News & Reviews 30 Anything Goes 31

E:DTTOR

Alice Korach ASSOCIATE

EDJ'l'OH

Louise Malcolm CONTRfBU'l'ING

EDITORS

Diane Fitzgerald Marilyn Green PUBLISHER

Lane DeCamp ART

5

DIRECTOR

Designing Jewelry

Mara Hudson MAR

KE:TING

PJ.A.'1

DIREC'.L'O R

Melissa Weston CIRCULA'J'JON

AIHHTNJ)

A CEX'J'l•:l{Pll~CJ<:

l6

by Nancy Alden

Clay Play

ASSIS'l'AN'J.'

Katia Troyanos OFFICE

BASICS

MANAGEH

Osen Akumasama Joan Franzino. Upper right: See page 13.

OXE

BEAD

A J<'ASHIO!X

worked bead necklace by Kristina Logan. Above: Lampwork bead by Kate Fowle.

is

bimonthly by Conterie Press,

Inc. PO Box 1020. Norwalk, CT 06856. (203] 857-5355. Copyright 1994 Conterie Press. mission

Inc. No reproduction of the

publisher.

without per-

for manuscripts or materials submitted to us. Subscription rates: $3.95 single copy, $19.95 per year (6 issues]. $35.95 per two

A XATl\'I•; Al\lEHH'A.'1 DESI(;X

HE\'ISITEU

Postmaster: Send all new

orders. subscription inquiries. and change of address notices to BEAD & Button. PO Box 3000. Denville. NJ 07834.

22

Best Buttons Forward

by Elsa Hungaski

L f:TS

BH A ('I•: Y<>CH

'I'll AT

l<'AVOHITE

S II O\\' 01<'1•' Bll'l"l'0.'1S

by Marilyn Green.

11

Fit to be Tied SC'AHVES VEHSATILE

Ala; THE

24

:\!OST

A('('l•:SSOHY

by Kathy MlBride

years (12 issues]. Canadian add $4 per year. Foreign add $12 (surface mail] or $20 (airmail].

'E

l•:AHHIXGS

Sioux-Style Neckpieces

Inc .. registration pending. Please send edi-

06856. We cannot assume responsibility

STYJ,ISll

by Sarah K. Young

Button is a trademark of Conterie Press. to: Editor. BEAD & Button. PO Box 1020, Norwalk. CT

L TECHXH~l

TIGEHTAI

8

BEAD &

torial contributions

Pendant Hoop Earrings XEW

!<'OH

Japanese foil beads.

BEAD & Button (ISSN 1 072-4931]

('LAY

H)

l\lARES STATF.:\lENT

by Luke Nicolas

About these beads· Top right: Lamp-

published

POLY'.\Jl<;R

Easy Does It

Front cover: See page 5 for details. Model:

Below: Antique

OF

by Ginger Luters

()

From There to Here A

Net a Purse in Beads I>l•:SI0.'11•:1{

IH~AI>

(AHTIST

13

\\"ITH

('ON\'EHSATI<>N AHTIST PHOl<'l

LE)

by Virginia Blakelock

Pl1HSES

IN" A \\'EEl{EXD

Printed in the USA

BEAD & Button

February 1994

3

TIPS AND TECHNIQUES D

1

1

I

l/4 in.

(Ii

Earrings that match perfectly

Pulling cord through a tight hole

Here's how I get earring lengths to match perfectly: Thread the beads on one headpin or eyepin. Cut off the extra length 114 in. above the beads and use that piece to measure an identical cut on the other pin, as in photo 1. Next make the eye. Here's how I do that: Leave about 1Ai in. of wire above the beads. Grip it with roundnose pliers so you can barely feel the end (photo 2a). Rotate the pliers (photo 2b), repositioning as needed to complete the circle. When the loop is completed, bend the junction with the pin back slightly so the loop is centered on the pin (photo 2c). -Maureen Murray, London, England

I got frustrated trying to string trade beads with curved, rough, or narrow holes. I finally came up with this solution: Superglue the cord or thong to a wire beading needle (photo 3a, below). When the glue is thoroughly dry, mash any glue bumps with pliers and trim loose ends. Push the needle through the bead (photo 3b), grab it in the pliers, and pull firmly. If needed, trim the cord to a taper before gluing it to the needle. - Leslie Calaway, Santa Clarita, CA

IDJ •·Ir

Coordinating bead colors

Unusual bead threads Fly fishing stores carry many kinds of threads (used for tying flies) that highlight your beads. I like silver and gold tinsel-wrapped floss with furnace glass.- Kit Webster, Dallas, TX

Threading small-eyedneedles To thread small-eyed needles, moisten the needle eye, not the thread end. The thread will slip right in. - Barbara Kelsey, Newtown, CT

Gluing beads on barrettes Glue fabric onto a barrette finding. Then glue the beads to the fabric. They'll stick much better. I never use Krazy Glue® with beads because it's very brittle. I prefer hot glue or E6000®, intended for jewelry. - Maria Generoso, Baltimore, MD 4

February 1994

BEAD &Button

Before I start a project, I place a few of each of the beads I want to use together in a white or clear glass pan. When the colors are rolling around together, they often look different from the way I had imagined them. At this point, it's easy to change beads until I get a pleasing mix. - Barbie Shomer, Mahwah, NJ

Counting beads can be easy Bug your pharmacist for a pill counter. It's an inexpensive plastic tray with a side chute. It works great for beads too. - Renee Knippa, Austin, TX

Buttoned-down cards When I want to show off greeting cards, I cut X-shaped button holes in a back corner (photo 4a). Then I sew buttons to a wall hanging with a " festive theme and button the cards to the hanging (photo 4b). I also attach buttons to garlands, mantle trim, tablecloths, and other decoration. It keeps cards from flying everywhere and gets a lot of attention. Pat Buckland, Toronto, Canada Photographs

by Mara Hudson

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/Designing/ . Jewelry t/# ~~~ire.11~'

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Plan around a centerpiece

Eavesdrop on a designer at work. Tips for every project.

Nancy has been a jewelry designer in Europe and North Americafor over twenty years.

lrj Nancy Alden

L

ately, we've been seeing some beautiful, ornate Fimo plaques made by a South African artist. Her whale design cried out to become the centerpiece of a necklace shown here and on the cover. Carrying the pendant, I searched my local bead store and my private stash for an assortment of small beads whose colors appeared in the plaque. Thus greens and blues predominate. I decided to use only small beads so that they wouldn't overwhelm the delicacy of the pendant. And since the pendant is not shiny, I wanted the softer look of matte beads to complement its softened colors. So I chose matte and antiqued seed beads in two sizes (5 - large, and 8- small). But to add contrast, I also included sparkling Swarovski crystals in various shapes, sizes, and colors, and niobium metal coils in greens and purples. I also added two colors not in the plaque: antiqued purple, which compliments the whale's gray, and gold (2 and 3 mm beads, small rondelles calle i toris, and findings) to

provide continuity throughout the necklace. This kind of variety ensures that the strand doesn't lose out to the pendant. To increase the pendant's importance, I mounted it on an eye pin, from which I hung a five-strand,jointed bead tassel. Putting the same glass and gold beads that are in the necklace below the pendant also unifies it with the necklace. Finally, I decided that my necklace would have more uses if it was really two necklaces that can be worn together or separately. The pendant is on a short, 18 in. necklace. The other necklace is 64 in. long and can be worn single or all the way to quadrupled. This is shown on the front cover.

My Stash I have a whole room devoted to beads now (and I won't admit to why my husband can't park his car in our garage any longer). I'm an addict. But part of the fun of designing is pulling out different beads when I need them. Also, many beads are one-time finds, so I buy them when I see them. Then they'll be available when I come up with a design. It's not a good excuse, but it's worked so far. Half of bead designing is bead buying, and it's most fun without a design in mind. BEAD&Button

February 1994

5

Easy Does It

One bead makes a fashion statement

Style that's simple. A five minute project that makes the best of a bead.

by Luke Nicolas

T

ake a look at the streets and you'll see a lot of beautiful bead necklaces on young men and women. But you probably won't see a lot of beads on any one necklace. They've discovered something that many folks have forgotten: One beautiful bead on its own makes a big impact. When you display it close to your face, everyone notices it - and you. And it doesn't cost much or take any time at all.

Beads

Luke is a bead collector who looks for ways to display unusual beads.

6

February 1994

African trade beads are especially popular. So are millefiore or picture beads made from polymer clay, sterling beads from Bali or India, cloisonne from China, carved vegetable ivory, and stone or cast metal shapes. Go colorful, or go all black, or pick your own theme. There are few rules. Start the next trend yourself. BEAD&Button

Stringing material Choose a chunky, rough, leather thong if you like the look, or go to thinner smooth polished leather thong (like the one in the photo above). The rough-cut thong looks more casual and works better with roughly finished or very big beads. The thinner round thong is more elegant and also fits through smaller beads. Leather thong drapes well on your neck, and it matches the simple style of the piece.

Emphasis Many people tie an overhand knot (shown on page 15) close on either side of the bead. This keeps the bead in place on the cord and serves as a simple design element to highlight it. If you untie the necklace to take it off (which is necessary if you like the bead to hang at your throat), these knots will prevent the bead's falling off. But they also cause what looks like a kink in the thong, which some people prefer to avoid.

Another

popular

approach

is to

string small, plain beads on either side of the central, special bead, as shown in the photo on the facing page. You choose them in colors or designs to complement the big bead.

Putting small beads next to the big one also helps to hide its large hole.

Wearing the necklace Most people wear this kind of necklace on a short cord so that it hangs like a choker at their throat. They usually just tie the necklace on with a simple square knot (see below). Make sure you don't tie a granny knot, which will slip and doesn't look as nice anyway. If you'd like a more formal closure (or if you can't tie knots), bead stores sell leather I cord crimps of various kinds, which let you attach whatever clasp you desire. Check your local store, and ask them to show you how to use the variety you prefer.

More Bead Ideas This is the bead shown on page 6. An antique African trade bead, it has a big hole that's not terribly pretty. So I decided to cover it and at the same time increase the "importance" of the necklace by making it look a little more polished. The small gold-colored beads went on first to cover the holes and to keep the larger, reel glass beads from crowding the main bead. The necklace didn't look quite finished, so I added the brass beads. Their antique bi-ass color complements the pattern, color, and antiquity of the main bead, and their tapered ends acid a finished look. The cord is round, medium-sized, polished black leather.

I love the drama of this bead, a beautiful example of lampworked glass. It was made by Kate Fowle, a leading glass bead artisan. Like most of Kate's beads, it has a very small hole, so I coulcln 't put it on the heavier leather cord I would have preferred. The very thin, polished leather cord it's on is a bit too limp. I'll probably restring the bead by threading a piece of anodized black wire through it, bending up the ends, and making loops just above the bead. I'll thread a more substantial thong through the loops, and the bead will hang below and parallel to the cord .

...

Square knot Right over left and around, then left over right and through.

The cord doesn't always have to go through the bead. This beautiful carved knot ofunikite makes a stunning pendant all on its own. I used a gold headpin and a jump ring to string it on smooth, orange leather that picked up one of the secondary colors in the stone. I could also have strung the cord right through a very small loop on the headpin and omitted the jump ring. This would have nestled the stone pendant right against the cord, which would have looked simpler and perhaps better.

w { ........ 'SiF}_,,

Granny knot (Don't use it!) Right over left and around, then right over left and through.

This antique African trade bead is larger than most and makes a strong design and color statement. Because it's big, it needs a larger face and chest to look best - it looks ve11' good on a man, for example. It also looks good on a woman or slender man if worn on a longer cord, hanging lower on the chest. It's too big and impressive to get lost and rewards self-confidence. It says a lot about its wearer. BEAD &Button

February H)94

7

Sioux-s-iyle Neckp~ces A Native Ameri

design revisi

by Elsa Hungaski

Sioux chokers are easy to make and reward a little preparation.

Elsa lives in Connecticut where she teaches elemen» tary schoolart and designsjewelry.

8

February i qqa

I

like to design jewelry rich in tradition. So when my local bead store began carrying long bone tubes (in black and white), I was instantly attracted to them. My dad collects Western artifacts, particularly Native American, and these bones spoke to me of Plains Indian art. First I went to the public library to look through all the books I could find on the Plains Indians. The high bone collars I saw on pictures of Sioux men and women were just what I wanted. They looked simple but elegantly austere, and the colors were wonderfully strong: natural or black bone with black, red, and dark blue beads and leather. The collars I saw varied from being as narrow as two strands to as wide as six. Some were all of bone; others added glass crow bead highlights; and a few featured sterling silver and turquoise. BEAD&Button

Chokersize Your choker should be a little shorter than the length around your neck to allow you to tie it on. Some chokers might be several inches shorter than neck circumference with the leather ties filling in on the back and sides. I usually just fasten them by tying the thong ends together in a square knot (see page 7). But sometimes I get a bit fancier and make the ends of the thong into a button and loop, as you can see on the middle choker on page 9. Most of my chokers have three, four, or five sections and two to four strands. The number of sections depends on the pattern I want to make and the length of the bones I'm using. Longer bones will allow fewer sections and look more angular. Above: Traditional design has made Sioux bone chokers a favoritefashion statement. Laying out all the pieces in order, you follow the creative instincts of the original designers.

Materials

Choosing your choker

Bone tubes vary in length and color. Don't choose extra-long pieces because the necklace won't bend properly around your neck. I usually use pieces no shorter than 1 inch and no longer than 2 inches. Choose black, white, or African burned-pattern bone for a different, more decorative look. To find out how many bones you'll need, multiply the number of sections in your necklace by the number of strands. For example, a four-section, three-strand choker will need 12 pieces of bone. Leather strips divide the pattern sections and keep the strands lined up. On wide chokers (three or more strands), I also put a strip at each end of the choker so it will keep its shape. You only need a small piece of fairly thin leather - each strip is only 1/4 to 112 inch wide and the height of the necklace. I usually use suede deerskin from a craft store. You can also find it in saddlery or shoemaker's shops. Leather thong is used to string the strands. It must be thin enough to pass through the bones but no thinner than absolutely necessary. You need one length for each strand of the choker, and each length should be your neck measurement plus 18 in. to allow for tying. Beads add color and contrast between the bones and leather strips. I use crow or pony beads, natural stones, and sterling. A centerpiece is optional. I often plan a five-section choker with a fancy center glued or tied onto the middle with leather thong. For this I'll use a metal cutout such as a thunderbird or other Native American motif, or stone, silver, leather, beads, or feathers. You'll find good centerpieces at a bead or craft store. You'll also need scissors to cut the leather strips and an awl to punch holes in them. I usually use flexibledrying glue, such as a clear caulk or a craft "tacky glue" to assemble and attach my centerpiece.

Choker patterns (materials listed from top to bottom) 2 Strands, 4 sections, 3 strips 8 2-in. black horn 12 African carved wooden beads 12 white crow beads

3 Strands, 5 sections, 4 strips 15 2-in. bones 24 8-mm turquoise beads 12 sterling crow beads

3 Strands, 5 sections, 6 strips 15 1112-in. bones 36 crow beads (18 blue, 18 silver) 3 blue crow beads for button and loop catch Centerpiece: abalone leather 1 large and 2 small chevrons 1 silver crow bead 2 silver feathers

3 Strands, 5 sections, 6 strips 12 2-in. black horn 6 t-in. African burned bone 6 black wooden beads 3 African carved ebony beads

5 Strands, 4 sections, 5 strips 20 2-in. bones 70 crow beads (30 red, 40 black)

BEAD &Button

February 1994

9

Making a bone choker D Design Lay out all your pieces and try different arrangements until you find a design you like. (Hint: Use a felt-covered board to keep the beads from rolling.) Cut a length of thong for each strand.

Cuttingthe leather Cut leather strips slightly longer than the height of your collar and about 1h-in. wide. You'll trim the excess later. Line up the rows of bone and beads with the leather and make a pen dot on the leather where the rows come, as shown in photo 1. Then pierce the leather at each dot with your awl, as shown in photo 2. Mark and pierce all the strips before beginning to assemble the choker.

Assembly Thread a thong through each row of bone, beads, and leather strips. Cut the tip of the thong at an angle to create a point that will make stringing easier. Threading the thong with a twisting motion also helps it pass through small holes in the leather strips or beads. If the end of the thong gets soft and fat, twist it with your fingers to sharpen it. (You might also need to repoke the awl holes, as shown in photo 3.) I thread the last leather strip last because it helps even and tighten the strands (see photo 4).

The ends Center each strand on its thong. Tie an overhand knot (see page 15) at the beginning and end of each row. To finish up, tie a single overhand knot with all the thongs at each end of the choker (see photo 5).

Finishing Next trim the leather strips even with the beads, as shown in photo 6. Finally, attach the centerpiece, if desired. Wear your choker by tying it with a square knot (see page 7) or a bow.

10

February 1994

BEAD&Button

Photographs

by staff

Fit tobe Tied Scarves are the most versatile accessory

Let your accessories do the work.

Kathy's business, Fashion Technic, specializes in accessory design and style. She lives in San Francisco.

by Kathy McBride

A

ccessories make you approachable. So buy them, make them, wear them, and more than anything else, have fun with them. Scarves are the most versatile and adaptable accessory in your wardrobe. You can wear them year round; one size fits all; and they never go out of style. You can wear a scarf any time of day. So one scarf gives you a lot of value, variety, and versatility. This year scarves are out in full force: oversized challis, shawls, silk and chiffon

oblongs, silk squares, and beaded scarves that dress up a business suit for evening or a simple sweater for a dinner out, as shown in the photograph above. A scarf is so much more than something that hangs around your neck. To get the most out of your scarves, take on the role of designer. Study the scarves you have and think about how many parts they can play in your wardrobe. Every scarf has a different Above: A scarf worn over the shoulders can dress up an outfit. It can also conceal a jacket or dress that's out of style or doesn't fit perfectly. And changing scarves will increase your choices of outfits whenever you go out. BEAD&l3utton

February 1994

1 1

triangularly and place the Von your back. To keep the scarf from blowing off, tuck one end between two buttoned buttons, bring the other end across your throat, and throw it over your shoulder, as shown at left.

Adding embellishments Sewing beads on the corner of a scarf adds a nice touch and also helps to keep the scarf in place. But keep the beads minimal unless you "are only going to wear this scarf draped inside your neckline or collar. Also, when choosing beads, remember that they will take a lot of abuse on the end of a scarf. You can transform an older scarf into an opera scarf by fringing it with beads. This takes time but looks fabulous. For a quicker renovation, add tassels or fancy hair bands near the gathered ends of a long scarf. The important point is that your garments don't have to be tailored to look right. It's all in how you use accessories like scarves to personalize your look.

At left: Big scarves don't look imposing when they are worn properly. Here, the scarf is folded lo look smaller and draped so it doesn't overwhelm the jacket.

Scarf tips hand, which means it drapes and ties differently. So experiment with each of yours to find out what it does best.

Wearing scarves effectively Here are some ideas to help you rethink your scarf wardrobe this year. Use a great brooch to pin an oblong knit scarf (at least 12 in. wide) as a fanny wrap over a simple knit dress or skirt that skims the body. This takes attention away from your thighs and bottom, where the dress may cling. A large, tweedy wool shawl also makes a great country-style wrap skirt 12

February 1994

BEAD&Button

(as well as a wardrobe

extender

for a

quick trip or for every day). Ralph Lauren made this style popular a few years back. Fold the shawl lengthwise so that it hits right above your knees. Wrap one side to the far side of your hip. Bring the other around and lift the end a little to create a nice drape. Then belt it. Presto! you have a great little skirt. Wear it with a mock turtleneck and vest.

If you like to buy big scarves but feel that they overwhelm you or that you don't know how to wear them, use one as a spot of color on your overcoat or suit jacket. Fold it in half

Scarves drape; they don't hang. And a scarf doesn't have to be tied perfectly to work for you. Remember that brooches and scarves are compatible partners. Pin scarves in place when wearing them over a suit or dress. Nothing is more annoying than constantly fussing with your clothing. Travel with at least one scarf. You never know when the weather will change or you'll need a change of tops. Hand wash hand painted scarves in cold water with a delicate soap.

Dry clean a wool scarf only if you spill something on it.

Model:

D.C. Gottlieb

Neta Purse in Beads Designer purses in a weekend

No special skills required. Big savings reward your patience.

Louise is associate editor of Bead & Button. She has been a professional accessories and clothing designer for twenty-five years.

by Louise Malcolm

I

love shopping for purses. Partly, I guess, it's the sense of mystery and possibility when you open a purse for the first time, but it's also that the right purse immediately seems to be a part of you. That's mysterious too. Last winter while browsing in a very expensive New York boutique, I was captivated by a stunning little evening bag enclosed in a net of seed beads. I'm constantly amazed by how much a store can charge for something you can have fun making for yourself without much effort. The purses shown in this article are my adaptations. I've eliminated most of the sewing so I can concentrate on the beading. It took me about eight hours to complete each of them. Everything you need to make each purse is listed on the next page. You'll also need the following miscellaneous equipment: wire beading needles, clear nail polish or glue, a

needle and thread (in a color that won't show), scissors, tissue paper, and a few rubber bands. Directions Each of the steps in making a scarf purse with a net of beads is very simple, as shown in the photographs on pages 14 and 15. First you fold the square scarf into a purse shape and attach the rings that will position the strap, net, and drawstring. Then you bead the strap and net, finishing off with a tassel, if desired. Finally, you tack the bottom of the scarf to the top of the tassel, thread the drawstring, and prepare your answer for when someone asks, "Where did you get that gorgeous purse!?" Above: The scarf and beads you choose determine the style of the purse you make. Here a French scarf and fine Japanese black and gold plastic beads were used. They are stylish enough for evening wear. No one will know the money you saved. BEAD &Button

February 1994

1

3

Handy trick: If you make your net with cord that is too thick to pass doubled through the beads (so you can't use a needle), stiffen the end of the cord with cyanoacrylate glue to make it a self-needle.

Other Ideas 1. Make the purse larger or smaller. 2. Tie a snugger net by putting on a smaller quantity of beads between knots. 3. Acid a third string to each pair-24 net cords-for a denser net (the green and white purse). 4. Use a larger square of sturdier cloth for a more casual purse; net it with cord or leather, and decorate the knots with large wooden beads. 5. Tack the purse to the net with small stitches at the large beads. 6. Tie a bead net over an existing purse or sport sack. 7. Omit the tassel or use a purchased silk tassel (try a decorator's shop).

Starting Photo 1. Mark the

D

midpoints of each side. Then with the scarf facing right side down, bring the four corners together in the center, fastening the tips together temporarily with a rubber band. Next bring the midpoints of the sides up to the corners and catch them under the rubber band. There are now eight points around the edge of the scarf (four corners, four midpoints) that are caught in the rubber band. Sew a ring securely to each of the eight points. Remove the rubber band and pad the purse with tissue paper until it is

the shape you want. You are creating the final shape of the purse. Then replace the rubber band and put another rubber band around the purse "neck" just below the rings.

Materials Scarf Purse 30-in.-sq. scarf 30 yd. size F bead-stringing

thread

approx. 7 oz. size 8 seed beads 40 10-mm-decorative beads (Japanese plastic) 8 stone or plastic rings 1 slider bead/ring 112 yd. decorative drawstring cord 2 large-hole decorative beads

Taffeta Purse 18-in.-sq.

taffeta, hemmed

30 yd. size D or E beading thread approx. 4 oz. size 11 seed beads 48 8-mm-decorative beads (Japanese plastic) 8 stone or plastic rings 1 slider bead/ring 112 yd. decorative drawstring cord

Optional tassel approx. 1 oz. seed beads 8 to 16 decorative beads

14

February 1994.

BEAD&Button

A taffeta purse Because they hold so little, tiny purses are very dressy. The stiff taffeta used for this purse gives it much more body than a scarf can. And the lustre of the fabric adds an understated feeling of luxury,

increased by braiding the strap with pairs of beaded strands. In addition, making the net with more strands (24) lets you string shorter lengths of beads between each net knot for a more stable framework. - L.M.

The Strap Photo 2a. Cut three lengths of thread about six times the length of the scarf. Double each and thread seed beads on centers for the desired strap length plus three to four inches. Braid the beaded portion, leaving the last inch or two of beads un braided on each end. (In the photo, the paperclip marks the center of the strap.) Photo 2b. Now thread the double cord ends through three rings on opposite sides. (Note: On this purse, the cords were not doubled for the handle. The second strand had to be tied on to each ring after the strap was completed.) Measure two more lengths three times the scarf length, double them, knot at the fold, and thread a pair of ends through the remaining two rings - 16 net cords.

The Net Photo 3a. For an open net like the one on the scarf purse, string 1112 in. of seed beads on each cord. Tie every two cords together with an overhand knot (see photo 3b) and thread a large bead on each cord pair. Repeat, adding extra seed beads on each round to accommodate the width of the bag. After the widest point, you'll string fewer beads each round so the net continues to shape closely around the scarf. At the bottom, string beads on each strand and tie all of them together in one overhand knot.

Photographs by author

The Tassel I

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I

......

,,,,,.

Photo 4. The easiest way to finish the thread ends is to make them into a tassel. Thread 2 to 4 in. of seed beads on each strand and place a decorative bead somewhere along the last third of each strand. End each strand by running the thread back up the fringe through the next-to-last bead and 6-8 more. Knot around the strand. Then bring the thread back down the fringe and out the last bead. Put a dot of clear nail polish on the end to seal the knot. Trim the ends when dry.

A Drawstring Photo 5. Cut 18 in. of satin cord. Thread it through all the rings, starting with a side ring and ending with the strap ring next to it. Thread both ends through one pony bead or any bead with a hole just barely large enough - the slide bead. Hint: thread the second end through the slide bead by supergluing it to a wire needle. Finish each end with a decorative bead and an overhand knot, and remove the rubber band.

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Easy and fast results for all ages and skills.

A fiber artistfrom California, Ginger teaches clay and fiber design.

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February 1994

by Ginger Luters

H

ave you ever spent hours going from store to store searching for the perfect buttons or jewelry? And no one had what you needed? Well, once you get comfortable with polymer clay, those frustrations will be over for good. What is polymer clay? You may know it by a brand name-Fimo, Sculpey, or Cernit, but no matter what it's called, it is actually a plastic, not clay. It's pliable and comes in a wonderful range of colors, including metallic and translucent. It can be blended and shaped easily, and you bake it hard at low temperature in a regular home oven or a toaster oven.

Sources and storage You can find polymer clay in bead stores, craft stores, and art supply stores and sometimes in variety and toy stores. Packaging BEAD&Button

varies. Small two-inch-square blocks are most common; larger blocks are also available, as well as boxes of assorted colors. Brands can be blended with each other to achieve custom colors or characteristics. For example, a stiff clay (Fimo) can be blended with a soft one (Sculpey) for a medium consistency. Storage is simple.Just use plastic sandwich bags, and keep the clay in a cool dark place. Heat and sunlight may semi-bake it. Polymer clays can be stored for a long time, but fresh clay is usually softer and easier to work.

Softening the clay All polymer clays need some softening and conditioning before you can begin modeling. Cut a small lump and roll it between your palms. It will slowly begin to form a log Above: Make exciting polymer clay buttons and beads with the simple techniques explained here. You'll soon be able to make your own millefiore. It's a lot easier than you might think.

Materials Clean hands and a clean work area are essential. If soap and water won't remove all the clay from your hands or tools, use a little rubbing alcohol. The supplies that you'll need to begin are simple and inexpensive. They include: 1. Several colors of polymer clay. 2. A smooth working surface Formica, glass, or waxed paper on a smooth table. 3. A hobby knife, a razor blade, or a tissue slicing blade (available from The Clay Factory, PO Box 460598, Escondido, CA 92046; 800-243-3466). 4. A rolling tool - a small rolling pin, a smooth bottle, or a brayer (from an art supply store). 5. An oven and a smooth surface on which to bake the clay - a Pyrex dish or a cookie sheet. 6. A hole maker - a thin metal knitting needle, an awl, a round toothpick, etc. 7. Optional tools include:

shape. Fold it in half and continue rolling and folding until it is soft and easy to shape. Older clay may be slightly crumbly when you first begin to work it, but stick the crumbs back on. It usually just takes a bit more kneading and rolling. Blending colors to make custom shades is easy while you're softening the clay. It works just like blending paints -yellow and blue make green, and so on. A pasta machine makes blending very easy.

Modeling techniques The possibilities for shaping and modeling polymer clay are unlimited. See the photos that follow for four basic methods. Then let your imagination go.

Firing and finishing Firing polymer clay is extremely easy. You bake your buttons, beads, and other objects in a kitchen oven at low temperature. There is almost no shrinkage or distortion. (Microwaves won't work.)

All sorts of items permanently borrowed from the kitchen: canape or cookie cutters, a pasta machine for rolling sheets. For texturing: ceramic and dental tools, found objects. For embedding and embellishing: threads, fibers, glitter, beads, jewelry findings. Cyanoacrylate glues (Hot StuWM, Krazy Glue'", or Super Glue") for attaching findings. Matte or gloss glazes to vary the finish of your pieces.

The precise baking temperature depends on the brand and even the color of the clay, but 265-270° is about right. Use an oven thermometer to check your oven's accuracy. Baking time depends on the size of your creations, but 15-20 min. is average. If, after cooling, the pieces aren't completely hardened, just return them to the oven to bake a little longer. Don't raise the temperature. Polymer clay can burn, and the fumes may be toxic. (Hint: to prevent shiny areas on beads where they sit on the pan, bake them on a wire suspended over the pan.) You can press wires or other findings into the clay before baking and further secure them with a drop of glue after baking. Use glue to add jewelry findings after baking. You can also try glitter, acrylic paint, fibers, beads, and other findings. (If adding them before baking, test to be sure the oven doesn't harm them.) Glazes will add depth and beauty to your beads. Try them! The only limit is your imagination.

Marbling Photo 1. Marbling is the easiest technique. Soften two colors, then begin blending them. Cut the lump in half with your knife to check the patterning from time to time (see photo l). Continue blending and cutting until you're pleased with the pattern. Roll into a 1-in.-wide log and slice a button disk 11<1 in. thick.

If you cut the log lengthwise, you get a very different pattern, shown below. (Hint: Rolling clay back and forth slightly with the blade makes a cleaner cut. Or chill it slightly.) You can squash thick discs to make larger buttons, roll them to make beads, or cut shapes from flat sheets with knife or canape cutter.

D

Further information Nan Roche. The New Clay. Rockville, MD: Flower Valley Press, 1991. An excellent and inspiring book. It explains many more techniques. The National Polymer Clay Guild, Suite 115-345. 1350 Beverly Road, Mclean, VA 22101. Dues $20/yr., newsletter 5 issues/year.

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Sandwiches Photo 2a. A sandwich of thin layers will easily produce intricate results. Form a l,t,1-in.-thick rectangle approx. 1 by 2 in. Make another piece the same size in a second color and place it on top of the first. Flatten the stack a bit with the brayer (a printer's roller found in art stores).

Photo 2b. Then cut the sandwich in half and place one half on top of the other. Trim edges where any layers overhang (overhangs will disrupt the pattern), roll some more, then cut and stack again. Repeat as desired. Notice how the layers keep getting thinner as you repeat this process.

Polka Dots Photo 3a. Colorful polka dots are easy. First make solid-colored bead or button bases. Then roll a thin log ofa contrasting color (about lzi in. diam.) and slice thin discs. Press the discs on the bases. Next roll out an even thinner log of a third color, slice very thin discs, and place these over the first dots. They can be centered or askew. Roll beads or pat buttons until the dots are flush.

Photo 2c. Layers can be constructed with several colors or shaded dark to light. They can alternate thick and thin as well.These techniques are all illustrated in photo 2c. You can also sandwich them at 90° angles. Save your scraps; sometimes you get the most exciting results from them. Cut them into buttons or beads or use them for button or bead bases.

Photo 3b. Tip: To poke a bead hole, twirl the tool as you press it through the bead. Use the same motion to poke holes in buttons. But slant the holes so they are further apart on the back than on the front. This strengthens the button.

Canes Photo 4. The simple techniques illustrated above can keep you experimenting and productive for a long time. But eventually you'll want to start playing with canes. A cane consists of several logs or other long thin shapes laid together like strands of a rope. When you cut discs from a cane, you get flower-like patterns called millefiore (see photograph on page 16).

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Surround a log with thinner logs in different colors. Wrap it with a thin sheet of another color as shown here. As an afterthought, the white center was added by cutting the cane open. If you roll canes carefully, you reduce their size and increase the fineness of their detail. Cane work can become as detailed as you want to make it - the pendant on the magazine cover is a very fine cane.

Photographs by staff

A new tigertail technique for stylish earrings

A prqfessio.nal design that's easier than it looks.

a

Sarah manages bead st-Ore in Boston, which makes p11[fect Serl,§~ since she has been hooked on beads since childhood. She.also teaches bead classes i'?i the CamUridge Continuing Education program..

by Sarah K. Young

M

ost people who make earrings use headpins or eyepins. But if you use tigertail, a thin steel wire coated in clear, smooth nylon, you can create a wide variety of beautiful effects. The tigertail is somewhat springy, so you can form round or teardrop shapes - which is more difficult with thread or pins. Basically, you string the beads for your earring pendant on tigertail. A crimp, a tiny, soft metal cylinder intended to be squashed, goes over both ends, as shown above. Then you feed the ends back through the crimp to make a small, inconspicuous loop for hanging the pendant from the earring. A major benefit of designing with tigertail is that the crimp bead that completes the loop (you can't knot tigertail) can be hidden inside a large-holed bead if you don't want it to be a visible part of the design.

I first saw this technique demonstrated by Sandy Gates in Dunstable, MA, and since then I've been experimenting with different shapes and effects, several of which are shown on page 20. I've listed the beads I used for each earring under the photograph. I find that getting the crimp away from the hoop shape (as in these earrings) and using a crimp that's the same color as the earring makes the crimp almost invisible. Treat tigertail earrings carefully because tigertail bends easily and forms permanent kinks. That's why I store mine on a hanging rack. Also, remember that this technique isn't limited to earrings. Pendants look great hanging from all sorts of things! Above: One of Sarah's favorite variations on the basic tigertail hoop earring is to run the tigertail ends together through several beads above the hoop. This makes the pendant graceful, and it helps make the crimp that holds everything together (just above the top bead) less visible. BEAD&Button

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Earrings employing the same technique, but different kinds of beads, as follows: 1. Japanese black iris magatama, plated plastic rosebud and mushroom beads (these earrings illustrate both variations of the basic technique described below).

2. Sterling silver beads and bird fetishes. liquid silver, amazonite chips.

Teardrops Photo 1. Unwind about 12 in. of tigertail from the spool and, without cutting, try different combinations of beads to create a pleasing design. Cut 8 to 10 in. of tigertail and thread on the beads. Pinch the ends together and slip both ends through one crimp bead (see page 19). Slip the two cut ends back through the crimp bead. You'll have two large loops above crimp and a loop with beads on it below. If bead holes will allow, feed tigertail ends back through the first few beads on each side to hide them and strengthen the pendant. Photo 2. Use roundnose pliers to hold pair of strands just above crimp bead as you draw up slack in the tigertail. (Using roundnose pliers will prevent kinks that would be made by flat- or chainnose pliers.) Continue drawing up slack to close gaps in pendant, but don't tighten

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3. Dark purple 11 ° seed beads. 4 mm and 6 mm ambercolored glass rondelles. dark purple and amber-colored "mini-planet" beads hand-lampworked by Kristina Logan.

4. Golden-yellow 11 ° seed beads, copper metallic-colored 8° seed beads, India glass. and lustretipped, leaf-shaped handmade glass beads by Dudley Giberson.

too much or earring will hang stiffly. Roundnose pliers hold the place for a small loop of tigertail above crimp bead. This loop only needs to be large enough for teardrop to swing on the earring. Photo 3. Secure the shape by flattening crimp with flatnose pliers or crimping tool. Squeeze hard so tigertail can't slip. After crimping, cut off excess wire. Hang pendant on the earring finding and close the loop around the tigertail.

5. 3-4 mm round amethyst beads, large carved amethyst, fresh water pearls, 4 mm gold rondelles, and 2-3 mm gold-filled beads.

Hoops

Materials

Photo 1. Unwind about 12 in. of tigertail from the spool and, without cutting it, try different combinations of beads to create a pleasing effect. Remember that the smaller the circle you plan to make, the smaller the beads you'll need to use for most of it. That's because when you make the wire curve sharply, it will tend to angle the beads away from each other. If the circle is small, large beads will spread apart so much that their holes and even a bit of the wire between them will show. Try to avoid this effect. Cut an 8 to 10 in. piece of tigertail and thread on the beads. Put the tigertail ends through crimp in opposite directions. That is: thread one end through right to left and other left to right.

Tigertail I use fine gauge, .012 diameter, 16 to 20 inches per pair of earrings

Crimp beads 2 per pair

Earring findings Any type, as long it has a loop for hanging the pendant

Beads Whatever you like, providing they're not too heavy. This technique is particularly suited to beads that don't look their best hanging on headpins. See page 20 for examples.

Tools Chainnose or flatnose pliers, roundnose pliers, wire cutter (you can use other pliers, but these make your work much easier).

Photo 2. Feed each end through the crimp again in same direction you inserted it the first time (making a circle) to form a loop. Pull each end by hand to make the loops small. (You can't pull with pliers because the ends are going in opposite directions.)

Photo 3. Grab both strands of the loop on one side with roundnose pliers and pull one end tight. Repeat on the other end. Keep snugging loop this way until it's as tight as possible. Flatten the crimp bead with chainnose pliers.

A great tool If you get hooked on making tigertail pendants or if you use a lot of tigertail, you'll find the Crimper (detail shown at left) indispensible. (Look for it at your local bead store.) These special pliers compact and round a crimp bead almost perfectly to a diameter of less than 2 mm, which allows it to fit inside many beads, clam-type bead tips, and some clasps. All that regular chainnose pliers can do to a crimp is flatten it, which increases its width and gives it sharp edges. Here's how the Crimper works: It has two crimping locations, one with an oval opening and one (above the

Photographs by staff

oval in the photo) shaped like a crescent. You start by positioning the threaded crimp in the crescent opening - with the crimp centered on the crescent - and mash the crimp. This secures the tigertail and starts to fold the crimp. To finish, squeeze the crimp in the oval opening, inserted on its edge so the Crimper completes folding it, as shown. Mashing it this way turns it in on itself. Voila! A secure, tiny, round, smooth crimp. I have tried using the Crimper with both plated crimp beads and sterling silver or gold-filled crimp beads. I consistently get the best results with better quality crimps. -S.K.Y.

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Best Buttons

Forward

Bracelets that show off your favorite buttons fry Marilyn Green

An easy afternoon prgject with nifty results. Good for all ages.

I

Marilyn is a contributing editor of BEAD & Button. She is the author of The Button Lover's B dnor, PA: C Book Co., 1 from which this article s been adapted.

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f you have a button box, you probably have a collection of one-of-a-kind sew-through buttons (buttons with holes) that are left over from sets you used. Realizing that some of these "singles" were my favorites, I designed bracelets to showcase them. I liked them so much that I made a few more, shown above. My sturdy, felt bangle bracelet has a plastic needlepoint canvas core and is especially nice for displaying buttons with holes. It's even hand washable in warm water with mild detergent. For my first bracelet, I selected colorful buttons from my grandmother's button box that I remembered playing with as a child. On another bracelet I combined a selection of flat metal buttons embossed with product names. It's fun to play with different ways of attaching the buttons, such as using colorful BEAD&Button

threads and stitching variations like the ones shown in photo 4. And after sewing on the buttons, I like to add bead and embroidery embellishments. If you don't have enough buttons to make a bracelet, try your favorite fabric store. Or even better, go on a button hunt at flea markets, thrift shops, and garage or tag sales.

Materials A variety of buttons with holes Plastic needlepoint canvas (craft store) Quilt batting Felt Embroidery floss Thread (to match felt) Beads (optional) You'll also need paper cutting- and fabric cutting scissors. straight pins, and a needle.

Making a button bracelet (g

D

..............................................•... ...............................................•..•. ....................................................

···················································· !······ ····:::::: •• ••• ~····~~~

•••• Photo 1. Fitting Cut a length of plastic canvas. Mine is 10 in. long and 1 to 11.h in. wide. The batting and felt will add additional width and thickness that makes the inside of the finished bracelet snugger than the canvas alone. It should slip on and off easily, but don't make it too loose. You may want to test a longer piece the first time and cut off the extra. Plastic canvas is not expensive, so overlap a longer piece as shown above and cut off all but about 1,4 in. overlap. (If you end up making it too small, give it to a friend or take it apart and do it again. ff you make it slightly too big, add an extra layer of felt on the inside of the bracelet (see Finishing, below).

Photo 2. Making the core Cut the batting the same size as the canvas. Stitch the batting by hand to one side of the canvas with long stitches. You only need to stitch it enough so it won't shift or pull apart while you're covering it with felt. The batting will be on the outside of the finished bracelet.

the canvas and batting, overlapping itself slightly on the side opposite the batting (this overlap will be on the inside of the bracelet). Secure the felt with straight pins temporarily, then use needle and thread to secure with small stitches. You sew only through the felt on the inside (not through the canvas) so the stitches don't show on the outside. (Note: since felt doesn't ravel, you don't have to worry about finishing the cut edges.)

~

••••••••

!~!

••.···~·· •. ~.

seam by sewing buttons over it or by adding more beads or embroidery. If the stitches inside the bracelet bother you, cut another piece of felt a bit narrower and slightly shorter than the canvas and sew it inside the bracelet to conceal the stitching.

Bl

Photo 4. Button design Lay out your buttons on the canvas. Since the bracelet is loose enough to turn, all the buttons will show. When you find an arrangement you like, remove and pin them to a piece of Styrofoam to preserve the design. Sew the buttons to the batting side of the bracelet with three strands of embroidery floss. Don't sew buttons close to the ends. Try different stitch patterns for variety. Don't worry about neat stitches on the inside. Hide them later with another piece of felt. You can also add beads or embroidery as shown in the photo on page 22.

Finishing Photo 3. Assembling the band Cut a piece offelt about 1 in. longer and a little more than twice as wide as the canvas. Wrap the felt around Photographs by staff

Bring the canvas ends together. Tuck one end inside the other, overlapping the canvas slightly, and sew with small stitches. Hide the BEAD&Button

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Virginia was fascinated by insects as a child and considered becoming a naturalist. Her necklace, "Daphnis nerii" (Latin for the Oleander hawk moth), inspires more admiration for insects than any scientific work could. It features a Blakelock trademark - layering. As shown in the detail above, she had to construct a separate netted and bugle-woven under-structure to support the loomwork. There are 494 antique beads per square inch. Opposite page: Virginia is at work (and has been for five years) on another necklace, this time featuring calligraphy beetles. Her cats help from time to time.

Photographs by the artist

A gifted bead artist tells how she started in beads and shares many valuable tips.

Virgi,nia is the author of Those Bad Bad Beads, an excellent guide to beads and bead work. She has also recently completed a videotape on loom beading.

Photograph

by Carol Perrenoud

fry Virginia Blakelock

B

eads have always been a part of my life - but not always an important part. When I was a toddler in Ohio, plastic pop-it beads were the bribe of choice for my good behavior. In grade school, I taught myself loom weaving with an "Indian Bead Loom Kit." Beading was fun, but I was more passionate about collecting butterflies and making my own clothes. When I was 13, the United States Air Force whisked my family off to Karachi, Pakistan. It was what I had been looking for: hot, dry climate, hot food, hot colors, and exotic plants and animals. In Karachi I met up with beads again. The four years we spent there left me with a distinct creative style and confirmed my belief that I wanted to be part of an exotic world out there. Back in Ohio, I studied calculus and computer programming, planning a sensible

career as a systems analyst. That ended the summer after high school. I took a beginning sculpture class for fun and found my vocation. So I studied art - drawing and painting - in college. I fell in love with color and drew or painted every waking hour of the day. Eventually, I entered a graduate painting program at the University of California at Davis. I was miserable in graduate school, dropped out, and migrated to Oregon with no money, some clothes, and a box of paints.

Back to beads Visiting a rummage sale, I was drawn to the remnants of a woman's personal bead stash from the sixties. Although I was very poor, I managed to spend $12 to acquire probably 50 different kinds of beads. They fascinated and excited me, and I just looked at them for several months. Then one day, I took out a piece of graph paper, drew a geometric design using ten BEAD&Button

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colors, made myself a loom, and wove a rectangle with my beads. The result was intriguing, so I wove another, varying the colors. A sophisticated friend was also intrigued. That was when I realized that no one was doing anything in this medium. I could. And so I did. I shopped for beads as I trotted around Portland as a messenger for a stock brokerage. I drew patterns in bars at night while my boyfriend played music. I sat in front of the single gas heater in our flat and beaded when Portland was shut down by an ice storm. Beading was a small, portable medium. I could afford the supplies. I liked the results. I was hooked.

Startinga bead business

Above: Blakelock has always loved purses, which give her the opportunity to play with small, three-dimensional objects. "Puzzle Pouch" (41/2 in. sq.) is loomworked with s-cuts at a density of 272 beads per sq. in. It also adds bead embroidery on silk. Left: The underside of "Puzzle Pouch."

In an attempt to show my beadwork, I offered to teach a workshop at the Oregon School of Arts and Crafts. I wrote a 50-page booklet on loomwork for that first weekend class, and my friend Carol sold some of my beads to the students. That was the birth of my book, Those Bad Bad Beads, and of the Universal Synergetics Traveling Bead Store. "Synergetics" means that the whole is more than the sum of the parts. We took the name from my husband Gary's software and concrete businesses and felt it was equally appropriate for beadwork. Now Carol and I travel across the United States once a year teaching and selling beads. Two years ago, the three of us began journeying to Czechoslovakia (now the Czech Republic) researching bead making and buying old beads. We began having larger beads made specially for the store. Although running a mail order bead business takes time and energy, it also puts the materials we need right in front ofus at all times. And the business always has more beads than either ofus could ever afford to purchase at one time!

Art and life People are shocked and sometimes even appalled when they discover 26

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BEAD &Button

Photographs

by the artist

that in addition

to beading,

I still

spend time fixing old cars and working in concrete construction. But in these activities I know if I've completed a task successfullyit works or it doesn't, and I know right away. In my art work, I'm faced with countless choices and no clear-cut outcome. Sometimes it's years before a work is finished, and I hang in an emotional limbo waiting to see whether I will like it or not! Of course, the flip side of so many interests is that I must fight for every

Simplifying bead working To be portable, I use a pistol case with a foam liner that carries two porcelain watercolor trays full of beads. Like my best thread discoveries - Gudebrod rod-winding thread (intended for attaching wire guides to fishing rods) and monocord (for tying flies) - I discovered the pistol case at a sporting goods store. It pays to explore male territory.

I discovered the watercolor trays at a local art supply store. I glue leather to the bottom of each tray so they don't clank while I'm working. And I spray paint one or more of the compartments dark grey to make lightcolored beads show up better. I don't spend lots of money on fancy equipment either. My favorite loom is one I built using some scrap lumber. It's four feet long and has

minute I spend on art. All my pieces have been squeezed out in spare moments. My studio is wherever I sit down to bead. And I still work on my simple, homemade loom. I always have several projects going at once. At least one is always portable.

Planninga piece All my pieces begin with a clear focus - maybe the love of an insect or the desire to explore certain difficult colors. When accuracy of representation is important, I make a careful black and white drawing in pencil on graph paper. This tells me where major black and white color changes occur. I select beads and put them out in round porcelain watercolor trays, choosing colors bead by bead as I work (see photo on page 25). I love to set up a problem or bead myself into a corner to see where the process takes me. Even though I could stop at any moment on one of my pieces, frame it, and call it art, I'm committed to making personal objects that I or someone close to me can wear. This always involves some practical structural concerns, which further complicate the design architecture. For example, the shape of the loomed area of "Daphnis nerii" (see page 24) includes two narrow points, which could not support the piece or conveniently hide warp threads. So there is an entire beaded structure hidden behind the surface fringe, which makes the moth wearable, as shown in the detail photograph above the main photograph. Photograph

by Gary L. Betts; model: Jane Reese

"Cleopatra" is made with modern Japanese hex-cut beads and antique Italian "needle bugles," so called because of their extreme thinness. Orange and red are colors Virginia finds challenging, which is why she chose to work with them. Fringe is always an important element of Virginia's designs. BEAD&Button

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low sides and a bottom so I can rest it in my lap and lay my design and bead trays in the loom itself (the plan is in my book, and smaller models are available from my shop). It's easy to change the springs to loom with any size beads. Select smooth, high-quality springs whose wire diameter matches or is just slightly smaller than the width - the length of the hole - of your bead. In a pinch, stretch a f:ine spring to accommodate larger beads or space your warp threads with more than one spring coil between them. (Note: with beads, the larger the number, the tinier the bead; but springs aren't labeled so conveniently. So you'll have to bring sample beads along to the hardware store.) (Editor's note: Sometimes threaded rod is easier to find than the right spring and works similarly. Try a

size, color, and style, so it's very easy to find what I'm after. I get them at sporting goods or hardware stores. Even though I work with many sizes of beads - often on the same piece - I only use size 13Q and 16Q English beading needles. You may f:ind such fine needles difficult to thread. I make sure the thread end is cleanly cut, and I flatten it with my teeth to get it through the eye. Many people find another way easier: Pinch the end of the thread between the thumb and index finger of your left hand (lefties, reverse directions). Hold the needle horizontally in your right hand and lower the eye down onto the tip of the thread as it protrudes from between your fingers.

hardware store. Thinner rod or finer threading works for smaller beads.) For light I use a desk lamp with a

100 watt bulb. It has a jointed arm so I can move it around easily. When l really need magnification - for untying knots or fixing a problem I use a fluorescent lamp (also with a jointed arm) with a built-in magnifier. (I found it at an art supply store.) I keep my beads organized in compartmented plastic boxes sorted by

Above: When Virginia created the "Galaxy" for her husband, they were working together on a concrete art installation. She has never been able (nor wanted to limit) her activities only to her art. Below: Detail from "Galaxy."

I use a wide variety of thread depending on my bead size and technique. Although Nymo Dis good for general purposes, different threads produce different results and have different uses in the construction of a piece. I've written about thread at length in Those Bad Bad Beads. I have one caution about thread: Don't use white unless you have absolutely white beads that you want to keep as bright looking as possible. While thread immediately looks grimy. I use an off-white ash color that looks like natural linen as a good compromise between light and dark.

Buying beads Always buy beads in colors you like, and stay alert for colors that are new to your palette. You can't create colors the way a painter can, so you have to design around the colors you have. I have a pretty good recall of my beads. But when you're buying beads, it's easy to forget whether you have this or that exact size or shade. So it's a good idea to keep a color sample book of every bead in your stash. You can even have a section or code for special beads you need. A 20g bag of size 11 Q beads will contain approximately 2,000 beads, and a full hank of size 11 Q beads will contain around 2,800 beads. Beware! Beads also come in half-hanks and in smaller tubes or packages. Also, many beads may not be suitable for weaving because they are irregular in size or misshapen. So buy more than you think you'll need. But never throw away those bad beads. You can use them for fringe! After 15 years of buying beads from all over the world, the single most important rule I've learned is: When you see beads you like, buy all that you can afford. You may never see them again. Virginia's tape and book are available directlyfrom her store. Write her at Universal Synergetics, Inc., Dept. B, 16510 SW Edminston Rd., Wilsonville, OR 97070.

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Photographs by the artist

YOUR WORK Sculpey ladies Left: "Three-dimensional figures run riot on most of my ceramic pieces. What I particularly like about polymer clay is that you can safely stick things to it before baking, such as the rhinestone earrings and metal-mesh rose on these ladies. A few of the beads are marbled, but most were interesting scraps." - [anice Farley

Loom-woven choker Right: "I started on the beadloom only this summer, but I already love it. When I'm working with beads, I feel very relaxed and clear. I love all the colors of seed beads I can choose from, and I like to test the limits of my creativity. So I play around with different ideas and designs a lot." -

Crocheted and beaded purse Below: "I always make my own pocketbooks. So when the one before this was wearing out, I selected yarn for the next, hoping a design would come. It took me six months to come up with a drawing (which is not a bit like the purse). A project like this just comes along on its own. Never having learned to crochet from a pattern is a real advantage too - I started with the eyes and the nose and then just went where the yarn took me. As a finishing touch, I sewed on seed beads for accent and detail." - Myra Aronow

Rachel Howell

Bone Choker Right: "I've been having a lot of fun recently getting in touch with my heritage (I'm a Native American). Bone beads really appeal to me. They feel good and there's some kind of natural strength I sense in them. I wove this choker in an open-work pattern using two strands of tigertail. They weave in and out through the vertical bones in opposite directions. Then at the ends, both strands go through a burned-pattern bone where I crimp them with a small loop for attaching the clasp." - Rob Rapisarda

Myra teaches textiles and ceramics in high school. Rachel is an eighth grader who beads wherever she goes. Janice is a ceramics artisan who teaches at Parsons School of Design in New York. Rob, another new beader, works at a bead store in Philadelphia. This is your page. When you make something you're especially proud of, send us a picture so we can consider including it here. We may have to borrow the piece to photograph it, but please don't send it until we ask. Write to: Your Work Bead & Button PO Box 1020 Norwalk, CT 06856- 1020

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NEWS AND REVIEWS A show Beautiful, useful books Beadweaving: New Needle Techniques & you shouldn't Original Designs, by Ann Benson. New miss York: Sterling/Chapelle, 1993; 144 Donna Milliron's pate de verre beads, one of which is shown above, are only one type of the unbelievable glass masterpieces on display in "Contemporary Glass Beadmakers" (The Bead Museum, 140 S. Montezuma, Prescott, AZ 86303). The show runs through January 1994 and then travels to the University of Utah, Fine Arts Museum (Salt Lake City). Write for the color catalog, available from the Bead Museum. $6.75 plus $1 S&H.

A classic loom Jude Biegert's beadloom is one of the best looms for weaving seed bead strips up to 6 in by 36 in. Shown below, the loom comes with three length bars: 12, 24, and 36 in. The 3112 in. high warp bridges allow for minute tension adjustments and come with a threaded rod warp separator suitable for weaving size 9 - 11 seed beads; a finer bridge is available at additional cost. There is no takeup feature and it's not cheap $89 plus $7 S&H - but if you're serious about weaving beads, it's worth it. Three pages of instructions are included. For information or to order a loom, write to Bead Lady Designs, Box 1060, Freeland, WA 98249.- Alice Korach

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pp., hardcover, $24.95. Both needleweaving and mosaic beading are illustrated clearly. I found Benson's step-by-step diagrams for basic bead needleweaving easy and fun. The materials for each of the 50 projects (mostly personal adornment items) are described fully and coded clearly in the excellent charts. Bead card stitching (mosaic beading) is bead embroidery on a stiff backing, achieving pictorial effects similar to mosaic tile designs. Benson's "Sea Shell" pin looks almost three-dimensional. You can also attach fringes using the needleweaving techniques. The color photographs are clear enough to work from. If you want to work your own design, it will be easy after you've read the techniques and studied the excellent line drawings. -Anne Rogers The New Beadwork by Kathlyn Moss and Alice Scherer. New York: Harry N. Abrams, Inc., 1992; 112 pp., hardcover, $24.95 (available in bookstores or from CSB, PO Box 13719, Portland, OR 97213; $2 S&H). Imagine a book that shows you every conceivable technique in beading, and you'll still fall short of this exquisite work. Most of the color photographs are so sharp that you can almost touch the pieces. You can't help but be inspired as you peruse the diverse, amazing work of more than 80 bead artists, each revealing a distinct inner vision. There are also articles for every sort of bead enthusiast: a moving overview of the significance of contemporary beadwork, an essay about the history of beadwork in

the last 40 years, an explanation of the manufacturing of seed beads, a glossary of terms, long lists of exhibitions and resources, and, for those of us whose response is, "Wow! How do you do that?" an appendix with 16 carefully illustrated

and clearly explained techniques that make it possible for you to try the methods your favorite artists employ. Who knows, you might be included in the next volume. I hope there'll be one. - Alice Korach

Heard throughthe grapevine A bead artist told me that Fimo has recently changed, becoming softer, which makes it easier to handle but limits the detail a clay artist can obtain. I checked with AMACO and with Howard Segal of The Clay Factory of Escondido (the two major wholesalers and importers of Fimo). According to Mr. Segal, "Basically the formula has not changed. However, Eberhard-Faber has added more plasticizer to Fimo, which makes it softer. So people will have to adjust the way they work with it." He added that they have changed the formula to bring up the baking temperature in the fluorescent colors, porcelain, flesh, and transparent. The original formula of transparent is being reintroduced this November under the name, "transparent art." - Alice Korach About the reviewers: Alice is editor of Bead & Button, and Anne is a dedicated craftsperson who also happens to be a bookaholic.

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You Bet Your Buttons by Sue Marra It all started in my childhood, of course. I had sleepers with buttons that looked like rabbits, and I played with them until they twisted off in my hands. Since I refused to part with the rabbits, my mother slipped the little buttons onto an elastic string I could wear around my wrist. By the time I was six, a craving for buttons was already the reigning passion of my life. I carried change purses full of coincolored buttons. I used buttons to play checkers, hopscotch, and tiddlywinks. I was motivated to learn to sew by a button scrapbook I made of cardboard and old denim. Giving in to what seemed a harmless mania, my family sewed buttons on my bedroom curtains and on my bedspread. They sewed buttons on my notebooks and pencil case, my sneakers, headbands, and mittens. They glued buttons on my lunch box, my wagon, and my sled. And they gave me pretty jars to hold my buttons. When I was a little older, I talked the other kids on the block into recognizing the versatile button. Trade was vital. I saw no sense in owning a dozen identical shirt buttons when I could keep one and swap the others for eleven completely different designs. Thus I found human contact necessary and, of course, profitable. Very profitable. A nefarious ten-year-old with skills steeped in an acquisitive fever, I next discovered gambling. That was the summer of rummy and pinochle and crazy eights and poker. The summer of Illustration by Laine Roundy

bet-you-ten-he-lands-in-the-creekunder-the-bicycle-befo re-he-hi ts-thetree. We kept our button stakes in pouches and called our sodas redeye and my mom Lil. I stashed my winnings in a chest under my bed. Sometimes I headed for home a successful cardsharp from Dodge with a posse in pursuit but arrived a desperate pirate scanning the high seas for ships loaded with precious buttons from the New World. I sold

my friendship to a child I had never noticed before for a button that must have come from an extremely fancy old hat. This became "the famous brooch lost by a drowning contessa a hundred years ago in the Spanish Main," and I corrupted the giver by making her both first mate and Sheriff of Abilene. Soon I had to play these games alone. I had become a teenager, and now the only warning sign of my addiction was the fancy buttons I sewed on store-bought clothes, whose original buttons I found dull. Then I met HIM - just a boy,

wearing his father's raincoat with big, virile-looking leather buttons. I still remember the first time I hugged that coat- with him in itand the buttons poked my chest. We parted several times over a period of years. But one day, when I was in my early twenties, he appeared - a lean almost-stranger at my door wearing button-fly jeans. Letters began to arrive full of heart- and flowershaped buttons he'd collected, and I-knew-he-knew-I-knew it was fate. No, I have no regrets. I'm getting old enough to add buttons to my canvas shoes and bags again if I want to. Life has assumed a comfortable routine. We go to garage sales and flea markets on weekends. And now and then we buy buttons in antique shops, too. We have baskets in the hall for our gaming buttons. I'm 75 buttons ahead on Ping Pong, but he wins big at Trivial Pursuit. He puts buttons in my bedside basket when I bake something I don't like but he does - and I put them back in his when he plants a new tree in the yard. When we were first married, we put strict button values on every household task. But now that we're rich in 20 years' buttons, we no longer measure each other's piles to ensure parity the way we used to. I can't help but wonder, since I've known a household and a neighborhood to prosper on a button economy, whether a system of button barter couldn't contribute something to the nation as well? Kind of: you-wash-my-buttons-andI'll-wash-yours on a grand scale. Anyway, it's something I think about when I'm looking through the extra-special buttons in our safedeposit box on a Friday afternoon. Sue, a freelance writer, has collected buttons since childhood. She beads whenever her rose garden can spare the time. BEAD & Button

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Virginia Blakelock, beaclweaver

Elaborate and unusual fringe is one of Virginia's trademarks. She often uses it in unexpected ways - here, to finish off the "V" of the necklace above the medallion. When she wove this piece, "Firecracker Necklace," she didn't have enough tiny size 15Q seed beads to complete the double-layer fringe, so she added seed and hex-cut beads in other sizes and colors. For more about Virginia's art, turn to pages 24-28.

(Photo by Gary L. Betts; model, Jan Evans)